Banjo Hangout - Playing Advice: Clawhammer and Old-Time Styles Forum Feed

Yo Halifax

eric@banjohangout.org — Sat, 7 Nov 2009 08:57:28 CST

Hey everyone, been absent from the boards for awhile, but just wanted to throw up a post looking for people to jam in Halifax, Nova Scotia, Canada. Its kinda lonely up here for Old Time music, but drop me a line if your into playing sometime. I also play fiddle. Cheers Jeff

Tunes of the Week: Mr. Isaac's Maggot & Mt. Hills

eric@banjohangout.org — Fri, 6 Nov 2009 07:45:41 CST

Following Lyle and ndlx's recent examples, here are two related tunes-of-the-week,"Mr. Isaac's Maggot" and "Mount Hills." Both are old-time in the extreme, taken from the 1701 edition of "John Playford's The English Dancing Master," a compilation of English country dance tunes first published in the mid-1600s. The Playford collection is a good source for uncommon public-domain tunes, and most are pretty adaptable to banjo and stringband. All available online in their original text form here: http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/ I heard both of these played by buttonbox squeezer Chris Parkinson at the World Accordion Festival in Montmagny, Québec. Chris' version of "Mr. Isaac's Maggot" is part of the button accordion anthology "Planet Squeezebox" (Ellipsis Arts) and both tunes are on a solo accordion recording called "Chris Parkinson: Out of His Tree." http://www.chrisparkinsonmusic.co.uk/Discography.htm. The tunes: My 12 year old daughter Celia suggested "Mr. Isaac's Maggot" as this week's tune. Here it is, played on an S.S. Stewart American Princess with Nyl-guts. Its plunky antique tone seemed more suitable in the moment than the mighty Tubaphone: http://www.banjohangout.ws/banjohangout.org/storage/audio/mr.-isaacs-27000-3514181112009.mp3 Here's Mount Hills: http://www.banjohangout.ws/banjohangout.org/storage/audio/mount-hill-27000-2616181112009.mp3 And here's a slightly crooked version of the Maggot played by the fambly band (Celia's accordion recording debut): http://www.banjohangout.ws/banjohangout.org/storage/audio/mr.-isaacs-27000-343866112009.mp3 The title of "Mr. Isaac's Maggot" has little to do with fly larvae or new Marine recruits. It was once thought that sudden flights of creative fancy were caused by tiny worms in the brain, hence the many older English dance tunes labeled as "maggots." Maggots were usually credited to particular individuals, as in "Betty's Maggot," "George's Maggot," "The Carpenter's Maggot," "My Lord Byron's Maggot," etc. In this sense, banjo players tend to be a maggoty bunch. I'm guessing that the redundantly-named Mount Hills is a location in England. It's also the name of a longways country dance. The original transcription (posted on my homepage) has Mr. Isaac's Maggot in C-major. Works better for me in D. 'eres the tabs... Mr. Isaac's Maggot: http://www.banjohangout.ws/banjohangout.org/storage/photos/large/27000-142896112009.jpg Mount Hills: http://www.banjohangout.ws/banjohangout.org/storage/photos/large/27000-252896112009.jpg Maggots go well with dark beer and aged cheddar. cheers. Tom

My First Jam Session

eric@banjohangout.org — Fri, 6 Nov 2009 07:39:13 CST

I attended my first bluegrass jam session last night. This was my first public appearance with my banjo. I felt comfortable being able to play in the harmony or rhythm to finally make the jump to a public setting. I wasn't fancy. I wasn't loud. And I wasn't good, but I did it. And I enjoyed myself. The people were friendly and inviting, supportive of my n00b skillz. What helped me the most was sitting next to the bass player. Since I play bass, I would just look over at his fingers to find what key the song was in. With 10 guitars, 2 mandos, 2 violins and 1 bass and 1 other banjo playing at once, I had no ability to discern the key any other way. Well, I could have asked, but it was just as easy to watch the bass player. Oh, and one slide dobro player. Chad Wilson Silvertone 5-String

Cathy Moore Workshop Details

eric@banjohangout.org — Fri, 6 Nov 2009 03:34:34 CST

Hi folks. Cathy Moores workshop is pinpointed now for.. 1 pmish Saturday 28th of November New Farm Park In the rotunda hopefuly or at least nearby. post here if you plan to come, but ultimately its a matter of being in the park on the day. cu there [IMG]http://img.photobucket.com/albums/v505/flyingbuttress/crispybacon.jpg[/IMG] We can bomb the world to pieces, but we can't bomb it onto PEACE. Micheal Franti.

Stripping tunes in the new tab batch

eric@banjohangout.org — Fri, 6 Nov 2009 00:38:33 CST

Monday morning I will be releasing the next batch of tabs in the (trumpets roll and drums blare or blair) _____________________Big Tab Bonanza For those unfamiliar with this momentous work, the (Hautbois, and Fanzines while the crowd goes wild) _____________________Big Tab Bonanza Is an attempt by one man to tab out every old time tune you have ever or will ever encounter on this (or any other local) planet. There are already a bit more than 100 tabs in the (UCLA's marching band enters the field while) Enough. Enough. ENOUGH! I just fired my advertising agency. There are a few more than 100 tunes currently in the Tab Bonanza and this coming Monday afternoon (11/9/09 more of less) I will be releasing a new batch. there will be 27 (or more) new tabs in the collection. I was going to do yet more, but my eyes are giving me fits right now, and I have to stop working on tabs and go back to mainly writing text with only small amounts of tab. I cannot increase the size of certain aspects of the tabs on screen and more than a half hour a day gives me a splitting headache. I am hoping to get a BIG monitor soon to replace my former 20 incher, but I need more money in the RSB fund first. Which brings me to why I am pre-announcing the latest batch of the (Wait for it) ___________________Big Tabonanzazaza now, instead of waiting till Monday. Actually I would send them out tonight but I'm hoping my wife can figure out a way to do some sort of mail merge thing with it over the weekend so I won't have to email each and every one of the current Tabonanna subscribers by hand. So I've decided to see what other tabs I can get up and running in the extra 4 days - If the Excessidrine (TM) holds out. To encourage any and all tab users who have not already become members of the ___________________Big Taboonanoonas Club, I have decided to release my compleat set of tabs for the yet unwritten chapter on Stripping Fiddle Tunes Down to Banjo Arrangements. Despite the lack of an actual RSB chapter there are full instructions and explanations in the notes that go with the tabs. What is missing is the introduction, a few more tunes as examples and a few of the bits and bobs you find in most text chapters of RSB. I plan to get some of the text done over this weekend. There are at least three more tunes I want to do as examples so this is an RSB chapter that is not going to be ready before I get a new monitor, and probably not for a while afterward. Spring at the earliest I also feel it is only fair to offer this stuff to those who are paying for my tabs before giving it away with Rocket Science Banjo. There is a full explanation of how the ___________________Big Tunabanja works on my website http://www.rocketsciencebanjo.com Where you will also find the majick papal... no no no... Paypal button, and an explanation of how this one payment of 15 dollars (or more if you wish!) will make you a permanent Sustaining Member and will bring you all further tabs in this series, plus new RSB chapters before they go to the general public, and even the eventual DVD which will have everything on one convienient easy to use disc. Videos, Audios (to be started soon), tabs, chapters of RSB, kits cats, sacks, wives - now how much would you pay? As stated on the web site - this is all presupposing I live to do it. I'll have more info over the weekend - including a list of all the tunes completed for the __________________BIG TAB BONANZA. Stay tuned. The next voice you hear..... End of transmission. Beginning of clutch. Is there anybody out there? Is there anyone at all? http://www.rocketsciencebanjo.com Rocket Science Banjo - Advanced Clawhammer Techniques for beginners and long time players alike. Plus videos and 25-40 EZ Clawhammer Tunes. & check out "How To Mold A Mighty Pinky" at: http://www.pricklypearmusic.net banjo brad's great banjo site

Volume (or lack there of) using claw hammer style

eric@banjohangout.org — Thu, 5 Nov 2009 07:39:20 CST

So I am a beginner claw hammer player. I can't seem to get enough volume out of my down stroke on a single string. I was reading a book by Grandpa Jones - he said to use a finger pick - along your finger nail - Does anyone have any advice in this area. I seem to get good volume on the bottom string, but the other 3 I can't seem to make them as crisp or as loud. Ed

Playing With One Finger

eric@banjohangout.org — Wed, 4 Nov 2009 20:25:59 CST

I attended my third official jam last (Tues.) night. Starting to get a feel for chord changes and what chord to use in the songs they play. Even took a lead a couple of times. Now if I could just get over stage fright and a feeling of goofing up. 4 players from Salem, MO showed up. (home town of the recent hall of fame Dillards I listened to at square dances when I was a teenager in the Dent county courthouse in the 50's). You could tell these four had played together a long time yet were tolerant of somebody like me with limited experience and offered encouragement. Enjoyed being around them. Anyway I noticed the banjo picker in the group only used his middle finger to pick but really sounded outstanding both in lead and backup and could play along with any song done whether he knew it or not and made it look so easy. I noticed that he had picks on all three fingers but curled the thumb and first finger in a circle and just used his middle finger and picked up and down playing all strings sounding like what I would call two finger style. As we broke up for the evening I was talking to the mandolin player in the group and he said the banjo player had a corperal(sp) tunnel syndrome operation done on his right hand and had to play this way. I don't know how he kept the pick on his middle finger when he picked up and then immediately down with the back side of the pick unless I was missing something. He sure knew what he was doing and I would love to hear him when he could use all three fingers. I just thought as I typed this, maybe he was holding the pick on his first finger with his thumb and using it on the down stroke. Maybe he was playing two finger style but with the index on the down stroke and middle finger coming up. I watched him for two hours and thought he was only using the middle finger. I wish I had asked him how he was playing but didn't get the chance. I wish I was half as good. Maybe he will show up again some time. I still think he was only using his middle finger but he was playing all the strings and all over the neck and was one of the best sounding banjo players I ever saw. Phil - MO

Heavy thumb blues

eric@banjohangout.org — Wed, 4 Nov 2009 16:14:55 CST

I'm fairly new to this game but progressing at a decent pace.. - I've noticed that I seem to be hitting the 5th string heavier then I should alot of the time > >Any practise tips to help remedy this sooner than later Cheers

books of alan lomax online

eric@banjohangout.org — Wed, 4 Nov 2009 11:10:25 CST

are there any books of alan lomax online where you can read them ore can make some copy's of the songs steven

help with lyrics

eric@banjohangout.org — Tue, 3 Nov 2009 23:50:33 CST

due to hearing loss I have trouble somtimes with words in a song. if you sing "we bring sacrifice of praise, I will sing in tune "we bring sacks of rice on trays. LOL! anyway due to a lost bet I have to post myself singing a song on youtube this weekend. I've chosen this one http://www.youtube.com/watch?v=A-u-Ql6_Gm8 can you help me here's the lyrics as best I got them (think I got most of it right. (had to guess in a few spots) I likes the ol pianer, I likes the fiddle too, the guitar makes the music awful sweet. but when I pick the banjer, my heart is mighty free the banjer am the instrument for me! well let me hear the banjo, I like that good ol' five string melody it makes me feel so happy, my hears delighted and free, the banjer am the instrument for me. well I used to court the ladies, and floss the ol' banjo they gathered round me happy as can be that's why the children like me, when things told me so the banjer a the instrument for me. well let me hear the banjo! I like that good ol' five string melody well it makes me feel so happy, my heart is delighted and free, the banjer am the instrument for me! now I'm old and feeble, grand children by the score, every night they set upon my knee, thats when I scoot 'em over just to make a little room, oh the banjer am the instrument for me. well let me hear the banjo I like that good ol' five string melody well it makes me feel so happy, my hearts delighted and free, the banjer am the instrument for me.

Ultimate Tab

eric@banjohangout.org — Tue, 3 Nov 2009 17:27:04 CST

I'm old, can't see, can't remember, you know the routine, So I read from tab. Now I'm trying to relearn those old clawhammer strokes and I have an awful time reading the tab, developing any speed, etc. I went out and found a kid's easel with a dry-erase magnetic surface and a chalk board on the back side. I got an artists pad 18" x 25" with a spiral hinge. Made a T-square from scrap wood, drew some lines about 1/2" apart for staffs, and copied some tab to the larger sheets. Wow has that made a difference. The ease of reading has sped up my playing, made it easier to keep the rhythm. Sitting 3-4 ft. in front of it, I only glance at it and my rememberer is working again. Life is good! happy just to tinker

For Old Time Open Back Banjo What's best bridge

eric@banjohangout.org — Tue, 3 Nov 2009 13:08:39 CST

For playing Old Time open back banjo, what are some good bridges to use, to get a nice bassy tone to the banjo? I have a Cedar Mountain and standard Bart Reiter banjo. carrington

Deleting uploaded music files

eric@banjohangout.org — Mon, 2 Nov 2009 18:56:05 CST

Hello all, I've just uploaded 3 tunes. http://www.banjohangout.org/myhangout/music.asp?id=27343 One got triplicated somehow. How do I delete the copies? forrestrand

Let me tell you where to stick it..

eric@banjohangout.org — Mon, 2 Nov 2009 12:38:30 CST

The concept of putting an old sock inside your resonator or between your dowel stick/rod and the banjo head to soften the tone is an old one... I have no idea how old but I suspect it may go back into the 1800s. It's too easy a thing to think of and to implement not to have been thought of early on! Recently I played around with the concept. I came up with several items to test: 1. the classic old sock - very soft (one whose partner had failed to return from the washer and is still AWOL after a month or more.) 2. an approximately 1" square "stick" of packing polyfoam - nearly rigid but not hard 3.a roll of cotton cloth with tie strings - wrapped so it was medium hard I put each of these in turn between my dowel stick and the head. There were very noticeable differences in tone ranging from the sock being the most mellow to the foam being the "brightest". Mellow was my goal. But then I re-tried each by placing them in different locations... nearer the bridge versus nearer the neck. That also made a considerable difference. In my case, nearer the neck was generally more mellow until the item came in contact with the rim. I was able to rotate the foam stick a full 90 degrees so it was perpendicular to the dowel stick, which made it a bit more mellow than it had been before... that was logical as before it was backed up along it's length by the even more rigid dowel stick. The perpendicular arrangement left much of it in contact with the head but not supported. I went through all the variations of materials and locations several times and finally chose the rolled cloth in a location about 3/4 of the way between the bridge and the neck as being more to my liking. There's no doubt that your choice of location and materials would be different according to your banjo and personal tastes. Just what was needed: something else to tinker with. Jim Linwood, N.C.

Pardon my ignorance...

eric@banjohangout.org — Mon, 2 Nov 2009 09:08:58 CST

...as I am not a CH player, but I do enjoy listening, it is a beautiful style. When I listen to some of my favourite players (Ed Britt, John Balch, Mark Johnson among others) they do this thing where they dig in with their thumb and "snap" the string - sometimes leading off the phrase this way. Here is John Balch doing it: http://www.banjohangout.org/myhangout/media-player/audio_player2.asp?musicid=442 I was wondering, is there a name for this style/technique? I have read no discussion of it. What is the history of its development? Is one person credited with coming up with it? Just being clawhammer curious[:D] Cheers, Laurence It takes a lot to laugh, but it takes a train to cry

how to capo a frettless?

eric@banjohangout.org — Mon, 2 Nov 2009 08:50:42 CST

Basicly I really want a frettless for my next banjo as i have been loaned one BUT when i capo it, it just sounds terrible. The only thing i can think of is slipping a small strip of copper wire underneath the strings just it front of the capo but that is such a faff. Its got steel strings, thanks in advanced. -------------------------------------------------------------------------------------------- Check out my MySpace - http://www.myspace.com/killerbanjo - and add me as a friend!

breathing (or lack thereof)

eric@banjohangout.org — Mon, 2 Nov 2009 02:48:17 CST

Because I have the time and the desire, I've been practicing a LOT since I took up clawhammering (can you say 'clawhammering'?). I noticed just a bit ago that as I'm playing through exercises, concentrating on rhythm and hitting the right strings, I'm not breathing. It sounds ridiculous, but now even that I'm aware of this, I'm still doing it. It's like I tense up and it stops my breath. I don't notice till I'm actually short of breath! Ridiculous. Has anyone experienced this? ____________________________ Am I the only banjo player in India?

Played in an old old style? Please comment

eric@banjohangout.org — Sun, 1 Nov 2009 11:13:57 CST

I put this on my BHO music page, thought I'd see how you like it. I didn't post this in "sound Off", mainly because if it appeals to anyone at all but me, it would appeal to folks who are into old time music. I doubt bluegrass & fiddle players would be interested. The song's called "In the Pines". I tried to emulate the banjo playing of a friend I had when I was about 15 years old, many many years ago ( 63, to be more exact ). His name was Wilbur. I don't think I ever knew his last name, he was from Missouri, and most of us called him "Mizzook". Mizzook and I worked in the grape vineyards and orange groves of California together, he was probably somewhere in his middle to late 30s, and he played the banjo and guitar. Actually, he played the guitar first, then learned to play the banjo. He pretty much played both of them the same way -- thumb lead for melody, and up and down brushes with his index finger. That's an oversimplification, but it's basically right. He tried to show me, but I really didn't know how to play the banjo, so I just picked up the main drift of what he was saying. One characteristic of his playing is that he didn't use the fifth string quite as much as it's used today. In fact, he almost never used it when he was accompanying his singing, he mainly used it on the breaks. Like most of us farm folks, he didn't take formal lessons, so he just extended his knowledge by getting friends and family to show him a few things now and then. But his 'style' of playing was not what I usually hear nowadays, it was very simple and straightforward, and ( I thought ) pretty and sincere. He would not have fared well at the Opry, so you may be disappointed. Anyway, I don't know why, but I was thinking recently about Mizzook's playing and thought I'd give it a try on one of the songs he used to play and sing. So I tried it on my Supertone banjo. My rendition isn't as good as I remembered his to be, but I hope you like it. Your comments and suggestions would be appreciated. As I said, it's called "In the Pines", and it's on my BHO music page. Here's the URL: http://www.banjohangout.org/myhangout/music.asp?id=2935 You'll have to scroll down pretty far, but it's there. Let me know what you think, please. Thank. Bill Martin

home made 5th string capo?

eric@banjohangout.org — Sun, 1 Nov 2009 02:36:19 CST

Heya folks. Do you guys know how I might improvise a 5th string capo? I understand the concept of using those little model railroad spikes, but if those aren't available, would it be best to try using a very small finishing nail or is there a makeshift clamp-on that perhaps one of you has devised already? I have this picture of banjo players all being MacGyvers with fantastically equipped tool cabinets and work benches in their garages -- which is my dream, btw. Here in India, every time I even ASK a local about where I can buy a hammer or other hardware, the person I'm talking to will insist that someone else can do whatever I need for me. Granted, you can have virtually anything you need done here for cheap, but that's missing the point. No one understands my Midwest-American need to do stuff myself. Frustrating. I haven't had to retune or use a capo much in my bluegrass playing -- well, I avoided it, anyway. But I do have a capo. When a song says to capo the second fret, should I assume that means I should have a method of moving my 5th string up two frets as well, unless stated otherwise, that is? ____________________________ Am I the only banjo player in India?

Adventures in Re-Stringing

eric@banjohangout.org — Sat, 31 Oct 2009 18:58:34 CST

You know that old Boy Scout saying about always being prepared? It is a good thing I ordered two sets of strings. I ordered a set of J61 and J69 strings. I prefer a light touch, so I thought I would try the lights (J69). Well, I received an education in over-tuning a light string. :) So, unpackaging the J61's.... 30 minutes later, I now have 4 J61's on. I left the J69 on the drone string. I figured I should leave enough alone since it wasn't broken. I don't know what strings on before, or how old they were, they these feels much less tight. And even now while they are still in stretching mode, it sounds so much nicer than the old strings. Chad Wilson Silvertone 5-String

Tone and the relationship of fingernails & flesh

eric@banjohangout.org — Sat, 31 Oct 2009 18:13:37 CST

This thread is about tone and the relationship of the length of the fingernails (or picks) to the amount of flesh used during the stroke. The “plectrum,” that with which your strike or pluck the string, is a major part of tone production. In this little post I am focusing on tone over volume. Those players that are very focused on tone generally do not play with very long nails or picks. The reason is that the fleshy pad of the finger in combination with the fingernail will offer many more tone colors to the player than by using all nail or all plectrum. By changing the angle of the down stroke one can add more or less flesh to the “plectrum” (nail or pick). And, changing the angle of the strike from a perpendicular blow to more of a glancing blow will change the tone color as well. I don’t know Adam Hurt personally, but I have heard that he discusses this very thing quite often when he teaches. And whether you care for Adam’s playing or not, I think all sane people will agree that the man’s tone is beautiful, highly varied, and well controlled. Relative to banjoists I think, classical guitarists and lutenists are nearly obsessed with this matter, and discuss the subject ad nauseam. (Believe me, I know!) Major areas of focus are the shape of the nails and how much flesh is added, and when. Many believe that any finger nail at all is an abomination! Personally I find moderation in all things is best (The Middle Way). Ergo, I am one who does not care for all nail and no flesh. I like a combination of nail and flesh. Therefore, when I see the length of some of your nails, I must admit that I feel they are WAY too long. (It’s OK; I am entitled to an opinion!) So, the length of nail (or nails) I am referring to are in the neighborhood of this photo. (This is not my hand – it is just a photo from the internet. Such musicians file their nails daily with very fine emery boards and even several times a day. The smallest rough edge gets smoothed immediately. So, they don't often break a nail because 1) they are so smooth, and 2) they aren't all that long. [img]http://www.health-boundaries-bite.com/images/RightFingernailsDec24pm.jpg[/img] In my opinion, Clawhammer is very well suited for solo play. And since solo play is “solo” it provides the soloist perhaps greater opportunities to employ a wider range of tone colors and dynamics. Well . . . before you pull out your pistol and start trying to shoot me out of the saddle, please just give it some thought first. Alright, no you can start shooting. “I use half inch long acrylic nails and you can bite my . . . “ Yeah, yeah, I know! We’re still friends! [8D]

More Why I Play The Banjo

eric@banjohangout.org — Sat, 31 Oct 2009 06:25:02 CST

I've been working at clawhammer banjo for about 5 months now and know 25 or 30 tunes; usually the tune and 3 or 4 verses of standards like Aunt Rody, Blue Tailed Fly, Jacobs Ladder, etc. We went to a friend's house last night and while sitting around the fire pit, I broke out the banjo and started to play and sing. Within a few minutes everyone was singing along and all the kids were dancing around. After 90 minutes of going through all my songs twice and getting strained voice, we talked about how much fun it was, and that singing around a fire was something we'd heard about but never really took part in. Last night I figured out why I am learning to play the banjo ... it has this wonderful ability to bring friends and family together. "Don't play it any faster than you can sing it" - - Dear Old Dad Costello - -

ozark 4121G

eric@banjohangout.org — Sat, 31 Oct 2009 06:22:14 CST

hi guys and gals, please advise, anyone got a ozark 4121G, the price is right here in the uk the specs look impressive from the dealer, and it looks the business for the bucks but Im wondering if its anywhere near the goldtone bg250f for instance, your advise please graham

probs in moving from 3-finger to clawhammer

eric@banjohangout.org — Sat, 31 Oct 2009 00:38:20 CST

Hiya gang. I just made up my mind that I'm going to start playing in the clawhammer style. I've come to realize that I can keep time much better in clawhammer, I can more easily figure out non-bluegrass tunes, and I simply like the sound better. I'm so serious about this that I just took the armrest off my banjo...and I just put it on a couple months ago! So I'm really excited about this. (Like probably more excited than a grown man should get at such things, but I live alone so there's no one to shake their heads at me.) That said, there are most definitely some beginner learning dilemmas I'm running into. I promise I did give a cursory gander at the headers in this sub-heading of the BH forum, but I'm sure I'll be asking the same things you've all answered before. I know that can be frustrating, so please click away if you're at your wit's end with slow-witted newbies! When learning to pick awhile back, I gleaned pretty much the same things from source to source; there isn't a ton of wiggle-room in the basic right hand/arm formulations. As I'm seeking out beginner's clawhammer/frailing info (for my purposes, they're the same thing right now), I'm finding a huge array of seemingly disparate "rules" to the technique. I understand there aren't really rules to this, but I'd at least like to make sure I'm not starting off with really bad habits or I'll hardwire those suckers really fast. A.) is for angle of attack: For me to hit the strings above the first, I apparently need to use a sharper angle of attack than the folks in the videos I've been watching. The palm of my hand is at about a 45 degree angle to the head. It certainly makes a difference in my being able to strike those inside strings and I get a better tone, but is this going to cause problems for me in the future as I speed up? (Like a good boy, I'm taking it REALLY slow right now.) B.) is for bringing down the thumb: I immediately put my thumb back on the 5th string after plucking. Since I'm moving slowly, it's easy to do; I close the V in my hand to for the strum, then more or less pull off the fifth at an outward angle. But I just watched [URL="http://www.youtube.com/watch?v=HdWOYFnRiz0"]David Holt's video[/URL]; he keeps the thumb floating above the 5th and it appears to go up with the hand a little as it prepares to strum the 'dit.' Advice? C.) is for...I'dunno, "cranking" the forearm: The [URL="http://ezfolk.com/audio/stream.php?mode=video&band_id=2&video_id=262&k=a82071fdb894&ext=.wmv"]ezfolk teacher[/URL] says the movement is all in the wrist. Others say the forearm should be rocking, still others say the wrist is locked. Consensus? Pros and cons, maybe? D.) is for please DO let me know if there're any common challenges for the picker as he/she makes the switch to clawhammer...other than the immense guilt that hits me every time I look over at my picks! Thanks, folks. I very much appreciate your advice and your patience. ____________________________ Am I the only banjo player in India?

Leaving Home!

eric@banjohangout.org — Fri, 30 Oct 2009 21:34:58 CST

Warning: This is another shameless promotion of a player on the Banjo Hangout! Just last night I turned on the old BHO Jukebox whilst doing some paper work and put it on automatic mode to play the top 100, and I don’t know . . . maybe 20 minutes into the stack this tunes comes on. It stopped me in my tracks. I was thoroughly captivated by the performance. So afterward, I looked and “lo and behold” . . . it is Dan Levenson of the BHO. (I didn’t know he sang . . . and he sings really well! (Ok, so I’m unhip . . . out of it . . . so sue me) I think Dan did an exceptional performance here and I wanted you all to be aware of it because I think you’ll like it too! IT ROCKS! [url]http://www.banjohangout.org/myhangout/media-player/audio_player2.asp?musicid=2668[/url] It is from a new CD recorded by Dan. You can it sample here. Be sure to check out “Monkey On a Dogcart” and “Banjo Tramp.” There are lots of good tunes on this one, and equally enjoyable fiddle playing as well. [url]http://www.cdbaby.com/cd/danlevenson3[/url]

Sandy River Belle Tuning- What am I doing wrong?

eric@banjohangout.org — Fri, 30 Oct 2009 15:20:52 CST

Hey all, so i'm trying to learn Rebel Raid watching an adam hurt video. he's saying it's tuned gEADE, which has a lovely sound to it, but when i tune up to that particular tuning, i get a very modal sound, i'm clearly not tuned the same way he is. am i missing something here? why do i feel so dumb?

Mountain Man Gourd

eric@banjohangout.org — Fri, 30 Oct 2009 10:21:21 CST

I just finished this little maple banjo. I made up the tune a long time ago, it's about getting chased through old Fred's field by his bull after school. http://www.youtube.com/watch?v=DZNTNg4zwxE Terry - Terry

Fiddle Style/3 Finger

eric@banjohangout.org — Fri, 30 Oct 2009 09:26:45 CST

I guess this is called Melodic style now days? In the early 1980's I found a young man that owned a combination music and magicians store on either New or Old Florissant road in North St. Louis. I didn't realize how good an instructor on the 5 string he was. I would tell him I would like to play Red Wing or Foggy Mountain Breakdown or whatever and be able to hear the tune and he would grab a tab page and tab it out in just a few minutes. I stopped playing while putting kids through college and raising a family. I now have been getting serious again and have dug out all the old tabs he made up and really like them and after playing them hundreds of times I am starting to not need the tabs and can change a few of the licks, but I still like his tabs. I recently retired and found an instructor in the small town near my farm, but everybody here plays by ear only. He has 20 plus years on the fiddle, mandolin and guitar on stage, but fairly new on the banjo. His style is learn the forward backward roll and play it only using the chord progression in the song. After the group goes through a new song for him two or three times he can take a lead and throw in a few notes of the song. My problem is that using this style everything starts sounding alike but you sure do fit in a group. Somebody in an earlier post I read on sight here mentioned Tony Trishkas Fiddle Songs for Banjo book. I wonder if it would be similar to the tabs I have and worth the price? Phil - MO

Beginner Clawhammer Book & DVD/CD

eric@banjohangout.org — Fri, 30 Oct 2009 08:26:09 CST

Hello All- I've been playing the banjo about a year, but exclusively Scruggs style. I've developed an interest in learning how to play clawhamer and I'm looking for some recommendations on a book with tab and a DVD/CD to learn from. It's my preferred way to learn so bear with me for those who have issues with tab. Regards, Zack

Tune of the Week: Ingrian Polka/Kuppari Eeva

eric@banjohangout.org — Fri, 30 Oct 2009 07:11:22 CST

The tune(s) of the week are the Ingrian Polka and Kuppari Eeva. Both are, needless to say, extremely uncommon in the banjo universe. The tuning I use is aDGCD: it is common sawmill/mountain minor tuning, but with the fifth string up a whole step (2 frets). This allows me to play in A minor (Ingrian Polka) and E minor (Kuppari). The only tricky part is the first measure of Ingrian Polka: the first index finger strike is on the UP beat (the and beat) of the first beat of the measure. The tab for both tunes is here (tabledit format): [url]http://www.pineycreekweasels.net/off/music/ingriankuppari.tef[/url]. You can here my band, Off to California, play it on my hangout page here [url]http://www.banjohangout.org/myhangout/music.asp?id=14718#[/url]. You can even buy the CD here [url]http://www.cdbaby.com/cd/offtocalifornia[/url]. The band web page, which includes clips and banjo tabs from the entire CD is here [url]http://www.offtocalifornia.com[/url]. The first tune we got from the Finnish Band Ottopasuuna, who is or was the backup band for the Finnish Group Vartinna. Information here: [url]http://www.richardsilverstein.com/tikun_olam/2004/10/26/ottopasuuna-ste/[/url] (They call the tune something else, the correct name is in the liner notes) The second tune we got from Kevin Burke, who calls it "Finnish polka", and plays it with two other Irish Polkas, Bill Sullivans and Ger the Rigger. You can play all 3 of the Kevin Burke polkas well in G tuning too if you'd like. I don't have tab prepared for those three. The only Youtube version of these tunes I can find is this rather charming ACappela version of the second tune: [url]http://www.youtube.com/watch?v=BN4cLlIKnoA[/url]. If Scandinavian music on the banjo lights anyone's fire, the field is wide open. Cathy Moore has some great version of Scandinavian tunes on her web pages that can be found with a minimum of effort. Here is what my partner Dorothy has written about the tunes: The region of Inkeri, the origin of the first polka, is a part of western Russia that has been in dispute many times over the centuries. It is home to many Finnish speaking people and includes the area that surrounds St. Petersburg, the city known as Leningrad after the Russian Revolution and until the fall of the Soviet Union. We combine it with “Kuppari Eeva,” a Finnish polka in tribute to a kuppari, the term given to a type of rural nurse or midwife. In earlier times she was called a bloodletter and would use a sharp tool to release blood in the belief that it helped high blood pressure and other ailments. These days a kuppari might be found working in a spa or sauna since some still believe it is a healthy practice–but she doesn’t use her teeth or a cow’s horn anymore. While it might be more common to hear a Finnish kantele or a Russian balalaika–stringed instruments common in those folk genres–on tunes such as these, the clawhammer banjo provides surprising ringing tones that help recreate their sound. It might seem equally unusual to use the Flamenco guitar, but it adds a Gypsy quality common to eastern European music. We imagine that in the gold country there were many such unlikely pairings of instruments and styles as miners looked for ways to entertain and communicate with each other. Happy picking, stay warm! Andy Alexis Sacramento, Calif

A good hardener for fingernails that works

eric@banjohangout.org — Thu, 29 Oct 2009 14:54:27 CST

[img]http://nailsuperstore.com/assets/items/medium/220010.jpg[/img] Product Review We often hear about Clawhammer players with nail problems on the Banjo Hangout • My nails split and wear away • I don’t like wearing picks • I don’t want to put super glue on my nails • I ain't going to no ladies nail salon and have acrylic nails put on • The nail hardener stuff chips off • The nail hardener stuff looks shiny, I can’t deal with that! So, here is a new product (new to me anyway) that I think works great. It still got a raised eyebrow from my teenage son when he saw it on he counter. . . but you know, he plays piano, “So bug off!” This stuff “Nails for Males” (yeah I don’t like the name either) is not as brittle as the “Sally Hansen Tough-as-Nails” product, so it does not chip. And it has a dull finish so other people can barely tell you have something on your nail. Really, they won't notice it. But, like the other hardeners, you must let it cure. This is the part everyone ignores. Don’t ignore it if you want it to work. Apply it 15 minutes before you go to sleep and when you wake up it will be cured very tough. Apply another coat the following evening and you will have a really tough coat that will protect your nail. Do not (I repeat do not) brush it on, then wait just a couple of hours and play on it. It isn’t cured yet! But if you let it cure, I am telling you it works. I practice for hours every day and it does not chip off. By the way, you don't have to have two coats applied. You can play on just one coat and it will be fine. Good product, less hassle, dull finish (available at lots of stores and online) PS - Removes easily with any nail polish remover

Tommy Makem

eric@banjohangout.org — Wed, 28 Oct 2009 20:59:22 CST

I'm assuming it's a Vega Pete Seeger Longneck with a tubaphone ring that I see him playing most often in the videos. Can anyone confirm this or set me straight otherwise? [IMG]http://i218.photobucket.com/albums/cc24/Beeconk/gifs/penguin.gif[/IMG] "Defender of the Sacred Cod" Capio pisces, ergo sum

I practiced in the warehouse today.

eric@banjohangout.org — Wed, 28 Oct 2009 11:46:27 CST

I have been kind-of stuck on a couple songs. I'm trying to improve, but I have no hawclammer teachers nearby, so I have been working with some dvd instruction. Anyway, I thought, maybe if I could practice over my lunch period, it might help hurry things along, being another time a day that I could practice. It's getting cold up here in Wisconsin, so I brought a folding chair and my banjo into the warehouse at lunch and worked on it for a while. A couple of shipping employees got stuck in the warehouse at the same time and they gave me some encouragement. I hope to be able to play to an intermediate level, but it continues to elude me at this point. Memorization is O.K., but timing and accuracy in both left and right hands is harder as the tunes get more complex and I have not yet been able to master it. I hope to overcome, but, even though I still enjoy it, it sure seems like it may never improve. Your talk talks, and your walk talks, but your walk talks louder than your talk talks!

unwanted twang...

eric@banjohangout.org — Wed, 28 Oct 2009 08:39:11 CST

Hey guys, I have a quick question... I have been playing thru Steve Martins Tab book for the crow, whenever I play his clawhammer songs I get a bad twang on the third string, even if I am only doing a strum... I have checked head tension and the strings are pretty much new. I can't however fix the problem...It sounds fine in three finger style... any suggestions as to what I can look at? now when I say twang Its the best I could figure to describe it but the sound almost repeats and vibrates a little too long... and continues noticeably after the other strings stop sounding. Thanks for any advice, Peter

Giving my first lesson

eric@banjohangout.org — Wed, 28 Oct 2009 08:31:17 CST

I've always been glad to share what I have learned through the years, but never considered myself a teacher. That changed last night when I gave a new Hangout member his first clawhammer lesson. I showed Paul Neher -- colneher on Banjo Hangout -- how to tune his banjo in open G and we worked on the basic clawhammer motion. I gave him some exercies that I tabbed out for him, with a disclaimer about tab. (Let's not go into that, ok?) Before I move back down South, it would be very satisfying for me to leave a clawhammer banjo player here in Fort Wayne, Ind., to infect the rest of the population. A clawhammer plague of sorts. Anyway, Paul's gonna do just fine. Dean "Each one's got to have his own style. It's all creamed potatoes, just fixed a little different." -- Benton Flippen

Capo Conundrum

eric@banjohangout.org — Wed, 28 Oct 2009 02:20:40 CST

I've been playing on and off for years - mostly jams or dances. Since most of the tunes played are either in A or D - I've always tuned my banjo that way and played without a capo. I've recently started to tune my banjo in G with the intent of using a capo. Is it just me or does the capo cramp your style? Although it provides greater versatility, I don't like the feel of it when I play.

banjo strap for openback

eric@banjohangout.org — Tue, 27 Oct 2009 17:08:58 CST

Hi banjo enthusiasts, I need to get a banjo strap that will support my Vega #2 open back. I bought one but it was so fat and thick I could not get it in my case. It was a cradle strap I think. I want one that is very flexible so I can fit in the openback banjo case. I don't want to buy a new case just so my strap will fit. The other alternative would be to take it off my banjo and rea attach it again all the time. What a bother. Anyone know of a good strap? Edna Mae Forgive 'em today. Tormorrow one you may have croaked.

The First of June (2 tabs)

eric@banjohangout.org — Tue, 27 Oct 2009 08:21:05 CST

My first real attempts at tabbing. I decided to post them in the archive in jpeg form to make them easily accessible. I hope that they're clear - I've got lousy handwriting. If anyone tries to play them let me know how you get on. I will post a sound file but I've had a cooking accident and injured my left index finger so there'll be a delay while I learn to play without it or it regenerates. John Fincher

strawfoot by david eugene edwards

eric@banjohangout.org — Tue, 27 Oct 2009 03:24:18 CST

http://www.youtube.com/watch?v=FOv8Rf4H08E&feature=related what do you think of it and wich tunning is it in steven

Am I on the right path here...

eric@banjohangout.org — Mon, 26 Oct 2009 19:24:14 CST

Howdy folks. Please excuse if this has been discussed before (and, if you would, send me a link to the posts!). I picked up a great little 5 string a few months ago (probably a Buckbee -- also my first banjo) which has a wonderful, warm plunky sound. I really love clawhammer/OT banjo and I'm trying to go about learning on my own. I have checked out some YouTube stuff, and am especially admiring of RPeek's videos (he has the sound/vibe/fire that I'm shooting for...). I also picked up Brad Leftwich's Round Peak book and Perlman's 'Complete Clawhammer...'. I've got the first tune down from the clawhammer book ('Punchtown Camps') and am planning on working my way through it slowly and trying to dial in the basics before meeting up with a teacher to tweak things for me. I'm also planning to start heading out to jam sessions as soon as possible, but I'm not sure if either book contains tunes that will allow me to join in. I should mention that I play/teach guitar professionally and so have about 30 years of experience to help me along. My questions are; What are 5 good tunes to have up and running before hitting a jam session? Should I concentrate on 1 tuning right now, or a couple? Are there any play-along OT tracks available out there? Any other books, etc. you'd all recommend for me? Thanks for your time and expertise! Pete Out standing in my field.

Brass 'neck plate'? (not sure of the proper term)

eric@banjohangout.org — Sat, 24 Oct 2009 16:44:28 CST

Hey there, Anybody know who might build a fretless or semi-fretless CH banjo with a brass plate up to the 5th fret (or thereabouts)? I really like the sound... Thanks! Pete Out standing in my field.

another way

eric@banjohangout.org — Sat, 24 Oct 2009 11:39:01 CST

I usually play guitar 3-finger ( thumb and 2 fingers ) style, so I asked myself "why not try it on the old time banjo?". I actually did play bluegrass banjo a few years back, so I decided to give old time 3-finger style a whirl. It's working out pretty good, and one advantage is that there's some ( not as much as you'd think ) carry-over from things I learned on the guitar and bluegrass. Bluegrass, for example, focuses mainly on rolls, and old time playing doesn't -- at least the way I play it. I suppose as often as I try a new style of playing, I'll never get above the level of "barely competent " at any style, but it sure is fun. And I'm even getting to the point where I switch from one to the other right in the middle of a piece-- clawhammer to 2-or-3 finger back to clawhammer, or vice-versa. Heck I even spent a few days using a flat pick on my 5-string banjo. Never did make that sound worth continuing, though.

What is your process for interpreting music?

eric@banjohangout.org — Sat, 24 Oct 2009 11:15:39 CST

I hope this will be an interesting topic and hopefully produce some enjoyable discussion as well. A tune (a piece of music) must be brought to life by a musician, in our case, the Clawhammer banjo player. The music is then interpreted by the musician (CH banjo player). Some musicians will simply attempt to play the music exactly as they heard it. Sometimes, the musician has never heard the music played and therefore must decide many things such as the tempo and what character to give the music (loud, soft, bold, tender, sad, happy, swinging, marching, and on and on). And of course sometimes they have heard it but intently wish to personalize their own version and choose a different character and/or tempo from what they heard someone else play. So, “interpretation” is an artistic matter . . . a personal process . . . and no matter how much one tries to sound like someone else, they will always sound like themselves! (Although some do get extremely good at imitating others, such as . . . oh, I don’t know . . . some of the Elvis impersonators for instance). And although we often express strong opinions of how a piece of music should be played, we mostly recoil at the thought of any piece of music forever being played exactly the same, always, by all musicians. So regardless of whether you are playing by ear or playing from the written page, what is your personal process for interpreting a tune or piece of music?

banjo strings

eric@banjohangout.org — Fri, 23 Oct 2009 21:26:49 CST

I am new to the banjo and want to learn clawhammer style. i have just purchased a Savannah SB 110 and need to put strings on it.....any suggestions on brand and weight?

TOTW 10/23/09: Flying Cloud Cotillion

eric@banjohangout.org — Fri, 23 Oct 2009 07:56:30 CST

The tune of the week for 10/23/09 is Flying Cloud Cotillion. I play it in G and D (Cotillion!) using standard G tuning. I've also heard it in other keys. I fell in love with FCC after hearing it in the early 80s on the Red Clay Ramblers LP, Twisted Laurel. They play it way way too crazy fast and it's perfect in my opinion. I learned it by ear listening to the RCR and with help from the Fiddler's Fakebook. So I suppose it is an American tune from the 19th Century about a fast sailing ship. I read somewhere that it sounds sort of like Flop Eared Mule and I think it does. Here's some background from the Fiddler's Companion: FLYING CLOUD COTILLION. American, Reel. G Major ('A' part) & D Major ('B' part). Standard. AABB. Another name for the tune called “Flying Clouds,” probably when someone pointed out that tunes in two keys were sometimes called cotillions. Source for notated version: Gary Craig [Phillips]. Brody (Fiddler’s Fakebook), 1983; pg. 109. Phillips (Traditional American Fiddle Tunes), vol. 1, 1994; pg. 90. Kicking Mule 209, Bob Carlin#8209; "Melodic Clawhammer Banjo." FLYING CLOUDS [1]. Old#8209;Time, Breakdown. USA; Texas. G Major (‘A’ part) & D Major (‘B’ part). Standard. AABB’. “Flying Cloud Cotillion” is the way the name is sometimes given, when someone pointed out that tunes in two keys were sometimes called cotillions. Learned by Uncle Jimmy Thompson (widely credited as being the old-time fiddler who “started” the Grand Old Opry) when he was 17, probably in Texas, around 1865. Source for notated version: Alan Garren (Portland, Oregon) [Songer]. Songer (Portland Collection), 1997; pg. 80. Vocalion 5456 (78 RPM), Uncle Jimmy Thompson (recorded in 1930 and appears as 1st tune of "Uncle Jimmy's Favorite Fiddling Pieces"). Hilltop Records 6022, Uncle Jimmy Thompson. Here's the RCR playing it way way too crazy fast for some good ole' old time dancing: http://www.youtube.com/watch?v=T0WbxfW1VUY Here's a CH version by the Polyethnic Cajun Slamgrass band, Left Over Salmon: (click on #6 on the page) http://www.archive.org/details/los1994-03-21-flac16 Here's a version by fiddler Joe Dobbs: (on the bottom of his page) http://www.marshall.edu/cofa/csa/mp_jdobbs.htm Here's an ace version by my triplet hero, Mark Johnson: http://www.banjohangout.org/myhangout/media-player/audio_player2.asp?musicid=345 And here's my version: http://www.banjohangout.org/myhangout/media-player/audio_player2.asp?musicid=14809 I gave up trying to find free Tab or Music on the net, but I know FCC Tab has been in the BNL and that Ken Perlman has published his version. John D

What is a Good Banjo for an 8 Year Old?

eric@banjohangout.org — Thu, 22 Oct 2009 10:36:19 CST

My eight year old daughter would like to learn the banjo. My instrument, a 1930s era Kay openback, is too large for her. I'm thinking of getting a travel banjo such as Gold Tone's "Plucky" or something similar, if there are competitor travel banjos out there. How have others approached this issue? Cletus "WV Banjo Boy" Charmichael, Charleston W.Va.

head tensioning

eric@banjohangout.org — Thu, 22 Oct 2009 07:51:19 CST

Hello all, I've been playing for a few months now and am at the point where I think my banjo can sound better than it does. The head seems a bit "soft" - it gives a little bit when I push on it an inch or so in from the outer edge. Should the head be tighter than this? Also, is head tension set with the strings on or off? Thanks, Mike

strap heighth

eric@banjohangout.org — Wed, 21 Oct 2009 20:59:24 CST

do you folks use two different positions for your strap when sitting and one when standing?? I am having some trouble finding a good middle ground. I play with a strap on when sitting, adjusted to where it's just touching my lap. I've found that it works good when standing up also, but I find that I can do some things better when the strap is lower and somethings better when the strap is higher. how many of you practice sitting down ? Standing up? benefits to either? ---------------------------------------------------------------------------------------------------------------" Take it easy, but take it."--Woody Guthrie

Cord Practice (using the Circle of 5ths)

eric@banjohangout.org — Wed, 21 Oct 2009 10:05:46 CST

I've printed off a copy of "Jim Bottorff's Circle of 5ths" a 5-String Banjo Practice Chart. The first ring of the chart shows where you put your fingers to make the cord....easy to understand. (Sure do need practice making some of these cords). The next ring.... I am thinking this shows where the cord is "up the neck"??? He provides a practicing cord progressions... I guess I could use this too for the 2nd (up the neck) circle too. But what ??? is the inside center circle used for?? does this show where the cord is if using written music?? I've tried different web sites to try and understand the need to know the circle of 5ths... the more I read the dumber I get.... However, I am thinking this might be what I need to find cords for playing up the neck..am I correct in thinking this?? Keep on the "sunny side"! Don

Just Uploaded 3 Tunes

eric@banjohangout.org — Wed, 21 Oct 2009 09:32:27 CST

I've decided to persue participating in an upcoming old time music gig scheduled for next year and was asked to submit a demo CD. The three tunes I've uploaded comprise the CD and I would very much appreciate your comments and feedback. It's been a while since I last performed at a professional venue and I've never done so with the banjo. But, this old time music is so infectious that it's a shame not to share it and I'm hoping I get the opportunity to participate. The Tunes 1. Rock the Cradle Joe [url]http://www.banjohangout.ws/banjohangout.org/storage/audio/rock-the-c-29140-245921102009.mp3[/url] Played on a Huss and Dalton Singletree (tubaphone) banjo. Double C tuning (no capo) 2. Needle Case [url]http://www.banjohangout.ws/banjohangout.org/storage/audio/needle-cas-29140-568921102009.mp3[/url] Played on a Rettberg and Lange Manhattan Model banjo (circa 1890). Low tuned down 2 whole steps to double G# tuning (no capo). Strung with Nylgut Minstrel strings and a classical guitar "A" string on the 4th string. Accompanied by upright bass. 3. Soldier's Joy [url]http://www.banjohangout.ws/banjohangout.org/storage/audio/soldiers-j-29140-2810921102009.mp3[/url] Played on a Huss and Dalton Singletree (tubaphone) banjo. Double C tuning, capo 2nd fret. Recording Info For those of you into recording, all three tunes were played in one pass without any editing. Although it was tempting to tweak them I dediced to leave them alone, warts and all! Microphones: 2 Shure KSM27 large diaphragm condenser (stereo) Preamp: Apogee Duet Platform: iMac Software: Logic Pro 8 Thanks for listening! - Ric Hollander www.hollanderguitars.com